In live production, you only have one chance to get it right. This philosophy has been our mantra for years. This drives our push to provide live audio recordings & production with a minimum of fuss.

To that end, we've carefully curated our gear complement this thought process. Our equipmentis constantly re-evaluated to ensure we are able to adhere to this thinking and maintain our high-standards as technology evolves.

To give an idea about how specific we are about our gear, a critical piece of equipment must fit into some specific parameters to allow its usage on a production:

• Be able to accurately and properly support SMPTE timecode
• Be able to handle power failure in a clean manner without corrupting any data or jeopardizing the media.
• Be able to recover from power failure with a minimum amount of re-configuration
• Be able to support current standards to allow inter-operability with a minimum of configuration.
• Be able to be clocked externally to allow that piece of equipment to operate as part of a complete, seamless system.
• Be able to support industry standard sample rates (44.1/48/88.2/96 kHz) with no degradation in quality
• If appropriate, be able to read/write broadcast wave files and associated timestamps in an industry-standard manner

This may all be technical speak that means nothing to many readers. However it outlines how dedicated we are to making sure your recording is done right.

Various Recording Methods: Our Stability, Your Confidence!

Our recording systems rely on dedicated hard-disk recorders. These machines are made for one job and one job only — recording. This buys us stability and reliability in the most tense, mission-critical situations.

We also use mac-based laptops as our backup recording solutions running various industry standard recording software solutions. The laptop based recordings are run as a backup solution to the main recording system and are configured as a separate recording chain in the audio signal flow. This means that a rare failure of the main recording system does not interfere with the recording of this secondary system and vice-versa.

Knowledge

At the end of the day, all of this gear means nothing if it isn't used in an effective manner. Thats where you can be comforted with our industry-knowledge and understanding of how to use the equipment in an efficient and smart manner. A great baseball player knows how to hit a home run...regardless of the bat they happen to have at hand .

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Console & Preamplifiers

While the console can be considered the heart of a live production, we don't focus on one specific console for all jobs. We carefully curate many consoles to work with our core mobile rig. This allows us to use the most appropriate-sized console for the job, while still offering best bang-for-buck for our client's budget.

Some of the current consoles we use for our recording-based productions are:

• Yamaha CL/QL-Series (CL-5, QL-5)
• Yamaha Rivage Series
• Digico SD-Series (SD-9, SD-11, SD-12)
• Digico S-Series (S-21, S-31)

We also use the following consoles for productions that call for Front-of-House duty only:

• Behringer X-32
• Midas M-32
• Avid S-Series (S3L, S6L)
• Avid Profile

Preamps are chosen based on the console above and the needs of the event.

Recording

Primary Audio Recording

Up to 128 Channels recording available in our primary system based on:

• Tascam DA-6400DP Hard Disk Recorder w/MADI & DANTE Interfaces
• Tascam DA-6400 Hard Disk Recorder w/MADI & DANTE Interfaces

Backup Audio Recording

Our backup system can also handle Up to 128 channels of audio recording:

• MacBook Pro Laptop
• Steinberg UR44 Audio Interface
• RME Digiface Dante Audio Interface
• Waves Tracks Live Audio Recording S/W
• Nuendo Live 2 Audio Recording S/W
• Avid Pro-Tools (32- to 64-channels)

Monitoring

• Genelec 8033a Active Monitors with SAM & GLM Room Correction
• Mackie HR824 Active Monitors
• Genelec 6010A Active Monitors
• Fostex 8301B Active Monitors
• AKG K240 Headphones
• Shure SRH440 Headphones

Microphones

Microphones vary by project need. Some of the specialty microphones we keep on hand include:

• Sennheiser MKE600 Short Shotgun (2)
• Karma "Silver Bullet" Electret (7)
• Rode NT5 (4)
• Beyerdynamic M88 TG
• Pearl MS8-CL

Metering & Loudness Control

• TC Electronic Clarity M Desktop Loudness Meter

Clocking & Synchronization

• ESE ES-102 GPS Master Clock
• Rosendahl Nanosyncs Clock & Video Sync Reference Generator
• Brainstorm SR-15+ Time Code Destripalyzer

Video

• Sony HVR-V1U Video Camera
• Atomos Ninja 2 Video Monitor & Recorder
• Blackmagic Design Hyperdeck Studio Pro 2 Video Recorder
• Insignia 32" Video Monitor
• AJA HA5-Plus HDMI to HD/SD SDI Converter

Cabling & Interface

• DANTE Network Switch Racks (2), each containing:
• Two (2) Cisco SG-300 10 Port Network Switches with Fibre optic SFP inserts (One configured as Primary and Secondary on the DANTE Network)
• 1000' Multimode Fibre Optic Cable Reel (2)
• 100' 24-channel analog snake
• 25' 24-channel analog snake
• 10' 24-channel analog snake
• 75' 6-channel analog snake
• 50' 6-channel analog snake (2)

Acoustic Measurement

• Rational Acoustics SMAART Audio Analysis S/W
• Rational Acoustics RTA-420 Calibrated Reference Microphones (2)

RF Spectrum Analysis & Management

• RF Explorer Spectrum Analyzer with 240-960MHz & 2.4GHz reception modules
• Vantage Spectrum Analysis S/W
• Shure Wireless Workbench S/W
• Sennheiser Wireless Systems Manager S/W